Formal Gardening 
all the grass is shorn, and all the flowers 
are set in pattern -beds. Within the pre- 
scribed shapes and lines she must grow her 
flowers and foliage as she will ; and she 
must supply light and shadow and the at- 
mospheric envelope. And, on the other 
hand, artificial, formal elements must enter 
into every landscape which man’s foot is to 
tread and man’s eye is to enjoy as a work of 
art. We must always have roads and paths 
and the non-natural curbs or edges of grass 
which they imply. In private grounds we 
have a house as the very centre and focus 
of the scene, as the very reason for its artis- 
tic treatment ; and in public parks we have 
minor buildings, bridges, steps, and many 
other artificial preparations for human com- 
fort. No garden can be absolutely artificial, 
and none can be absolutely natural ; and 
this is enough to show that the elements 
theoretically proper to the one style may 
sometimes be very freely introduced in a 
general scheme which we class as belonging 
to the other style. 
There is, for instance, a beautiful park 
near the city of Dresden. It is about a 
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